Popular myths are impossible to define. If we were able to do so, they would lose that condition.
The character of the bandonion player, director and composer Anibal Troilo surpasses any estilistic appreciation within tango history, although Troilo has created a school that lasts.
As a man of the Argentinian culture of the 20th century, Troilo has become known from Buenos Aires to the world the same way Piazzola debuted in the first Troilo´s mythical orchestra at the age of 18 and from which he knew every note.
Troilo was the “porteño” budist personification who, apart from leaving an extraordinary work of art in his 449 orchestra versions and others with his marvelous cuarteto
, he was the porteña angelical life catalyst. That one which was so well described by Leopoldo Marechal in Adan BuenosAyres or in The Severo Arcangelo feast, that race of big initiales from the city´s Tango neighbourhoods.
Troilo was an initiale in art and also in life, a Porteño Buda to whom listening and playing his bandonion or explaining his style are not enough, a person who indubitably synthesized Pedro Maffia, Ciriaco Ortiz and many others in an extraordinary way.
Troilo was an exceptional being who made an impact on the people who knew him. He had a way to make relationships and understand other people as if he was the other’s soul. He was a singers´ master and a great master from life, the porteña life and the one from sacred letters from Rio de la Plata´s brotherhood. He formed extraordinary artistic couples with poets Homero Manzi, Cátulo Castillo o José María Contursi, singers Francisco Florentino, Alberto Marino, Floreal Ruiz, Edmundo Rivero o Roberto Goyeneche and musicians Elvino Vardaro, Osvaldo Pugliese o Roberto Grela..
All Argentinians are under a man-angel protection like the one from Anibal Troilo, who constructed a mythology that still catches the world´s attention, rescuing us from daily ugliness.